It's OK To Listen To The Gray Voice (CD)

Jan Garbarek's high, keening saxophone sound, whether on tenor or soprano, has come to be inextricably intertwined with the austere "ECM sound." Since 1970, virtually all the Norwegian jazzman's records have appeared on that label, including it's 500th release, TWELVE MOONS. An early interest in the more outside explorations of John Coltrane and Albert Ayler gave way to a sort of sophisticated new age approach, with a focus on repeated figures of runic simplicity or mystery.

• Category:  Music  »  Jazz  »  Saxophone
• Format: CD   Learn more about the CD format using Tower WIKI.
• Release Date: September 26, 2000
• Label: ECM Records (USA)
• UPC: 042282540621
• WAPI (Tower ID): 106664947
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• Tower.com Sales Rank: #116137 in Music (See Top 100 Music Bestsellers)
• #10418 in Jazz (See Top 100 Jazz Bestsellers)
• #568 in Saxophone (See Top 100 Saxophone Bestsellers)

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Jan Garbarek Group: Jan Garbarek (soprano & tenor saxophones); David Torn (synthesizer, guitar); Eberhard Weber (bass); Michael DiPasqua (drums, percussion).

Recorded at Rainbow Studio, Oslo, Norway in December 1984.

This album is exactly what ECM Records fans have come to expect from this offbeat European label. A spacey collection of pieces by Norwegian saxophonist Jan Garbarek, IT'S OK TO LISTEN TO THE GRAY VOICE is as interesting and strange as the title itself. This outing is an inspired set of compositions (all named after lines from Tomas Transtromer's poetry) that highlight the unique improvisatory talents of Garbarek and his band.

It's particularly interesting to hear the juxtaposition of soloing styles throughout the album, especially on "The Crossing Place" and "One Day in March I Go Down to the Sea and Listen." On these tracks, the sparse, long tones of Garbarek's saxophone are followed by the intense fusion licks of guitarist David Torn. Other pieces such as "It's Ok to Phone the Island That is a Mirage" envelop you in a kind of foggy, Nordic haze due to the ethereal layering of Torn's guitars, Garbarek's frosty tone, the spacious drumming of Michael DiPasqua, and the languid fretless bass work of Eberhard Weber.

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